I have always loved Asian cinema, some of my favourite films are made in China both decades ago and somewhat recent. There's no denying that Chinese arthouse can be insanely strong, despite all the censors and pressure these days. In a way, these recent events actually make looking at older Chinese cinema even more interesting. To capture a glimpse in time where China's government wasn't strict on the arts, where the culture was significantly different, thus allowing for more vastly unique narratives and characters to be portrayed throughout the massive land that is China. Growing up, my introduction to different cultures was through cinema, watching international films that would air late at night on a small boxed television. It made these lands seem so otherworldly in a way, full of such mystery that pulled me in. I think this is why I have this love for Asian cinema still, even though I often neglect it, periodically growing lazy and tired of having to search for ways to watch these films that haven't had the greatest preservation. Especially in this chaotic era of poorly-preserved streaming service productions. As the Chinese government continues its insanity, I have no doubts that more of these older productions will grow increasingly difficult to find, to erase the past and freedom that was expressed in such films, to pretend that the present has always been this way.
Though, I do believe that the west has a bit of a stronger interest in preserving these films and slowly bringing them to the western screens. More and more initiatives are pursuing this idea, and more are growing interested in the idea of all things 'vintage', even if it's a stretch to call the 80s and 90s retro by any means. One of the unique differences in these international films from the Asian market is often how they're filmed. The utilisation of a perspective of the protagonist, dialogue that speaks their thoughts and opinions on matters, conveying them directly to the audience. You can see why modern-day censors wouldn't like that, the idea of the free mind, the thoughts people have and share. To me, these films are some of my favourite, to remove the traditional method of filmmaking and telling a narrative, and using direct connections to the characters to tell them instead. Bringing us closer to them, making us feel and see what they do, with cinematography that can then flourish as it gains newfound freedom in what it can display. Allowing for more artistic movements, lighting, and direction. There's a lot of reasons why so many love the films of Wong Kar-wai, and this is one of them.
Suzhou River
Much of my attention over the years has been spent on Hong Kong's new wave era of cinema, and the mainland Chinese films more of a modern period over the last few years. What often fascinates me about these types of films is their locations. Either tight in dense cities where so much is going on, the chaos of a modern lifestyle, or instead the simplicity of a backdrop that is heavily industrial. In a way displaying its own type of chaos to a set of characters that often feel trapped as a result. There are sometimes open, wide locations that display some nature, though with limited freedom as they rely on that industrial chaos to survive. The Looming Storm displayed this beautifully. That idea that in these quieter, more decayed locations are still people with lives, drama unfolding. Characters almost desperate in attempt to find a way out. That is often the feeling I had in Suzhou River. The connection to a simple space in an industrial, rundown location in China. A simple river having such impact on a select group of people that live near it.
With this is often the lack of regard for human life. The ways in which these characters are so open to manipulation and deception, even suicide. What works in its favour is the way the camera is used in Suzhou River. It's often handheld, shaking in its movements with every step. Sometimes fast in movement or with an overlay displaying multiple images in one. It has this appeal to it that makes life here seem frantic. The constant motion and stress it holds. It works nicely alongside the dialogue given to the audience too. That narration that voices true thoughts and makes this world feel more real. Those camera movements merely contributing to that atmosphere. Sometimes the film has more of a cinematic look to it with more still perspectives, but they're rarely framed in an overly wide, cinematic manner that screams "This is a movie!" I'm sure you have a general idea of what I mean by that. And here it works nicely, it sows each scene to the next as they don't really have much of a difference behind them in cinematography.
Life is like this also, a series of memories in which things seem fast, sudden. It's rare that we look back at a time in our lives and remember it in a still manner. For example your walks through the streets. A party full of dancing. That glancing out of the window or a car or train as the world goes by in a blur. Motion being a fundamental aspect of time. We follow characters around in this manner, with a following as if we are truly present, sometimes watching from afar with unique angles that feel as if we are spying on them. The cinematography utilises the density of locations for this, lighting and smoke that is thrown out into the streets. The curtains of a window or covering a door to a roam. We often get this feeling that we aren't really meant to be there watching it all, and it works in to this narrative of romance that follows a lost love, the idea that it might be found again.
It almost feels as if it has a slightly western influence to it, and this is felt in the music sometimes that might feel a bit more European. Orchestral even. This is pretty normal for films from this era, where ambience really set the tone even over such basic actions on screen. Something I love that was lost in time, that gentle ambience that portrayed some sort of emotion to the audience over average tasks. For a film shot on 35mm film, it certainly has that more dated look to it. The dull tones, the grain that fills the image. The beautiful colours that feel dreamy, like the whole thing is a fever dream to us. This is met with the audio that is placed over the footage, that old microphone sound that also gives off that same feeling. It's very similar to films from all over the world from the 90s, but certainly with its own identity with its connection to location and culture.
It's a very unique romance film, that's for sure. Artistic in its direction, dreamlike, and with characters that you are struggling to actually care for due to their odd nature. It's a strong play on human emotion, the idea of love and the desperation people will go through with to feel it. Even if it means pursuing someone that they're convinced are someone they once knew, convinced that they can remind them and prove it to them. But what does that exactly entail for someone? Can it truly lead to love, or just cause more chaos in an already chaotic environment?
If you are a fan of Asian cinema or arthouse, then I definitely recommend it. It seems like a lesser-known title that has been lost over the years, perhaps still thrown around by film fanatics. I know this much, as it's how I myself came across it, reading a review here on Hive, gaining a curiosity over it, feeling that itch for that period of time back on the screen in front of my eyes again. Suzhou River definitely isn't for everyone, though. It's dated in many regards, and modern audiences probably won't be able to keep up with it, slow or perhaps confusing. But that's what I loved about it. Never really knowing where it was going to go next, whether this drama would result in a good ending, or something bad for everyone. That aforementioned constant motion toying with that idea as it rushes forward.
